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I-German Leitmotiv, ekhanyisiwe. – isisusa esiholayo

Umculo omfushane uma kuqhathaniswa. inzuzo (bh umculo, kwesinye isikhathi ingoma ehambisanayo eyabelwe insimbi ethile, njll.; kwezinye izimo, ukuvumelana okuhlukile noma ukulandelana kokuvumelanayo, isibalo esinesigqi, i-timbre yezinsimbi), okuphindaphindwayo kuwo wonke umculo. umkhiqizo. futhi isebenze njengegama nesici somuntu othile, into, isenzakalo, imizwa, noma umqondo ongabonakali (L., ovezwa ngokuvumelana, ngezinye izikhathi obizwa ngokuthi i-leitharmony, ovezwa nge-timbre – leittimbre, njll.). I-L. isetshenziswa kakhulu etiyetha yomculo. izinhlobo nesoftware instr. umculo. Sekuyinkulumo ebaluleke kakhulu. izimali engxenyeni yokuqala. Ikhulu le-1 leli gama ngokwalo laqala ukusetshenziswa kamuva. Ngokuvamile kuthiwa kuye. isazi sefilosofi uG. Wolzogen, owabhala ngama-opera kaWagner (19); eqinisweni, ngisho nangaphambi kukaWolzogen, igama elithi “L.” isetshenziswe nguFW Jens emsebenzini wakhe ku-KM Weber (1876). Naphezu kokunemba nokujwayelekile kwaleli gama, lasakazeka ngokushesha futhi laqashelwa hhayi kuphela ku-musicology, kodwa futhi ekuphileni kwansuku zonke, liba igama lasekhaya labavelele, izikhathi eziphindaphindayo emisebenzini yabantu, izenzakalo zokuphila ezizungezile, njll.

Emkhiqizweni womculo. kanye nomsebenzi we-expressive-semantic, ulimi luphinde lwenze umsebenzi owakhayo (ohlanganisa ngokwengqikithi, owakhekayo). Imisebenzi efanayo kuze kube sekhulwini le-19. ngokuvamile ixazululwa ngokwehlukana ekuwohlokeni. izinhlobo zomculo: izindlela zezici ezicacile ezijwayelekile. izimo kanye nezimo ezingokomzwelo zathuthukiswa kuyi-opera yekhulu le-17-18, kuyilapho ukuqhutshwa kwamamyuziyemu eyodwa kwaqhubeka njalo. izindikimba zazisetshenziswa ngisho nakuma-polyphonics asendulo. amafomu (bona i-Cantus firmus). Umgomo wokulandelana wawuvele uchaziwe kwenye yama-opera okuqala (i-Monteverdi's Orfeo, 1607), kodwa ayizange ithuthukiswe ezingomeni ze-operatic ezalandela ngenxa yokugqama kwama-woks angawodwa emculweni we-opera. amafomu e-conc. uhlelo. Ukuphindaphinda ukwakhiwa komculo-thematic, ihlukaniswe ngezinye itimu. impahla, okuhlangatshezwana nayo ezimweni ezingazodwa kuphela (amanye ama-opera ka-JB Lully, A. Scarlatti). Kuphela ku-con. Ukwamukelwa kwekhulu le-18 L. kancane kancane kwakhiwa kuma-opera asekupheleni kwe-WA Mozart nakuma-opera aseFrance. abaqambi benkathi ye-Great French. amavukelambuso – A. Gretry, J. Lesueur, E. Megul, L. Cherubini. Umlando weqiniso we-L. uqala ngesikhathi sokuthuthukiswa kwama-muses. romanticism futhi ihlotshaniswa ngokuyinhloko nayo. i-opera yothando (ETA Hoffmann, KM Weber, G. Marschner). Ngesikhathi esifanayo, i-L. iba enye yezindlela zokusebenzisa okuyinhloko. okuqukethwe kwemibono ye-opera. Ngakho-ke, ukungqubuzana phakathi kwamandla okukhanya nawobumnyama ku-opera ka-Weber ethi The Free Gunner (1821) kwabonakala ekuthuthukisweni kwezindikimba ezinqamulayo kanye nemifanekiso, ehlanganiswe ngamaqembu amabili ahlukene. R. Wagner, ethuthukisa izimiso ze-Weber, wasebenzisa umugqa wemigqa kuyi-opera ethi The Flying Dutchman (1842); umvuthwandaba wedrama ubonakala ngokubukeka nokusebenzisana kwe-leitmotifs ye-Dutchman ne-Senta, efanekisela isikhathi esifanayo. “isiqalekiso” kanye “nokuhlengwa”.

I-leitmotif yesi-Dutch.

I-Leitmotif ye-Senta.

Ukufaneleka okubaluleke kakhulu kukaWagner kwaba ukudalwa nokuthuthukiswa kwamamuse. idramaturgy, isib. ohlelweni lwe-L. Ithole inkulumo yayo ephelele emculweni wakhe wakamuva. amadrama, ikakhulukazi ku-tetralogy ethi "Ring of the Nibelungen", lapho iminyuziyamu engacacile. izithombe cishe azikho ngokuphelele, futhi L. akagcini nje ngokubonisa izikhathi ezibalulekile zamadrama. izenzo, kodwa futhi zingena kuwo wonke umculo, preim. i-orchestral, indwangu Bamemezela ukuvela kwamaqhawe esiteji, "baqinise" ukukhuluma ngabo ngamazwi, baveze imizwa nemicabango yabo, balindele ezinye izenzakalo; ngezinye izikhathi polyphonic. ukuxhumana noma ukulandelana kwe-L. kubonisa ubudlelwano obuyimbangela yezenzakalo; emfanekisweni omuhle. iziqephu (ihlathi le-Rhine, isici somlilo, ukuhwashaza kwehlathi), ziphenduka imifanekiso yangemuva. Uhlelo olunjalo, nokho, lwalugcwele ukungqubuzana: ukugcwala ngokweqile komculo ka-L. kwenza buthaka umthelela wabo ngamunye futhi kwenza umbono wawo wonke waba nzima. I-Modern To Wagner, abaqambi nabalandeli bakhe bagweme ukuba yinkimbinkimbi ngokweqile kohlelo lwe-L. Ukubaluleka komugqa kwaqashelwa ngabaqambi abaningi bekhulu le-19, ababevame ukufika ekusetshenzisweni komugqa ngaphandle kuka-Wagner. I-France ngeminyaka yama-20s nama-30s ekhulwini le-19 isigaba ngasinye esisha ekuthuthukisweni kwe-opera sibonisa ukukhuphuka kancane kancane komdlalo weshashalazi. izindima zikaL. (J. Meyerbeer – C. Gounod – J. Wiese – J. Massenet – C. Debussy). E-Italy bazimele. G. Verdi wathatha isikhundla maqondana L.: wancamela ukuveza isikhungo kuphela ngosizo L.. umqondo we-opera futhi wenqaba ukusebenzisa uhlelo lomugqa (ngaphandle kuka-Aida, 1871) . U-L. uthole ukubaluleka okukhulu kuma-opera ama-verists kanye no-G. Puccini. E-Russia, izimiso zomculo-thematic. iphinda emuva kuma-30s. ithuthukiswe ngu-MI Glinka (i-opera "Ivan Susanin"). Ukuze usebenzise kabanzi i-L. woza esitezi sesi-2. Ikhulu le-19 PI Tchaikovsky, MP Mussorgsky, NA Rimsky-Korsakov. Amanye ama-opera akamuva aye aphawuleka ngobuciko bawo. ukuqaliswa kwezimiso ze-Wagnerian (ikakhulukazi uMlada, 1890); ngesikhathi esifanayo, wethula izinto eziningi ezintsha ekuchazeni uL. - ekubunjweni nasekuthuthukisweni kwazo. Okwakudala kwesiRashiya ngokuvamile akulahla ukweqisa kohlelo lwe-Wagnerian.

Umzamo wokusebenzisa isimiso somugqa womugqa emculweni we-ballet wawusuvele wenziwa ngu-A. Adam eGiselle (1841), kodwa uhlelo luka-L. Delibes lokulandelana lwasetshenziswa ikakhulukazi ngokunezithelo ku-Coppélia (1870). Indima ka-L. ibalulekile futhi kuma-ballet kaTchaikovsky. Ukucaciswa kohlobo kubeka phambili enye inkinga ye-dramaturgy ehlukanisayo - i-choreographic. L. Ku-ballet u-Giselle (umdansi we-ballet J. Coralli no-J. Perrot), umsebenzi ofanayo wenziwa yilabo okuthiwa. dlula ivoti. Inkinga yokuxhumana okuseduze phakathi kwemidanso ye-choreographic neyomculo yaxazululwa ngempumelelo ku-Sov. i-ballet (i-Spartacus ka-AI Khachaturian - LV Yakobson, Yu. N. Grigorovich, uCinderella ka-SS Prokofiev - KM Sergeev, njll).

Ku-instr. Umculo we-L. waqala ukusetshenziswa kabanzi futhi ngekhulu le-19. Umthelela womculo u-t-ra udlale indima ebalulekile kulokhu, kodwa akazange akukhiphe ngaphandle. indima. Isu lokudlala kuwo wonke umdlalo k.-l. isici se-motif sathuthukiswa esinye isiFulentshi. i-harpsichordists yekhulu le-18. (“I-Cuckoo” ka-K. Daken nabanye) futhi yakhushulelwa izinga eliphezulu yi-Viennese yakudala (ingxenye yokuqala ye-symphony ka-Mozart ethi “Jupiter”). Ethuthukisa la masiko ngokuphathelene nemiqondo yemibono enenjongo futhi evezwe ngokucacile, u-L. Beethoven wasondela eduze nomgomo ka-L. (i-Appassionata sonata, ingxenye 1, i-Egmont overture, futhi ikakhulukazi i-symphony yesi-1).

I-Fantastic Symphony ka-G. Berlioz (1830) yayibaluleke kakhulu ekugunyazweni kuka-L. ku-symphony yohlelo, lapho umculo omnandi udlula kuzo zonke izingxenye ezingu-5, ngezinye izikhathi ushintsha, oqokwe ohlelweni lombhali "njengetimu ethandekayo" :

Kusetshenziswe ngendlela efanayo, uL. ku-symphony ethi "Harold in Italy" (1834) kaBerlioz yenezelwa isici se-timbre seqhawe (i-solo viola). Njenge "portrait" enemibandela ye-main. uhlamvu, L. wazimisa ngokuqinile ku-symphony. umkhiqizo. uhlelo-isiqephu uhlobo ("Tamara" by Balakirev, "Manfred" by Tchaikovsky, "Til Ulenspiegel" by R. Strauss, njll). Ku-Suite ka-Rimsky-Korsakov's Scheherazade (1888), i-Shahriar esabekayo kanye ne-Scheherazade emnene ikhonjiswa ngemigqa ehlukene, kodwa ezimweni eziningi, njengoba umqambi ebonisa, lezi ziyindikimba. izici zifeza izinhloso ezakhayo kuphela, zilahlekelwa uhlamvu lwazo "oluqondene nomuntu".

I-Leitmotif ye-Shahriar.

Leitmotif of Scheherazade.

Ingxenye eyinhloko ye-I movement ("Ulwandle").

Ingxenye Eseceleni Yengxenye I.

I-anti-Wagnerian ne-anti-romance movements, eyaqina ngemva kweMpi Yezwe Yokuqala ka-1-1914. ukuthambekela kwanciphisa ngokuphawulekayo idramaturgy eyisisekelo. indima kaL. Ngesikhathi esifanayo, wagcina ukubaluleka kwenye yezindlela zokunqamula iminyuziyamu. ukuthuthukiswa. Abaningi bangaba isibonelo. imikhiqizo evelele. Dec. izinhlobo: ama-opera ethi Wozzeck kaBerg kanye neMpi Nokuthula ka-Prokofiev, i-oratorio Joan of Arc esigxotsheni sika-Honegger, ama-ballet e-Perushka ka-Stravinsky, i-Romeo kanye noJuliet ka-Prokofiev, i-symphony ye-18 ka-Shostakovich, njll.

Ingcebo yolwazi eqoqwe emkhakheni wokusetshenziswa kwe-L. cishe amakhulu amabili eminyaka, isivumela ukuba sibonise izici zayo ezibaluleke kakhulu. I-L. i-preim. instr. kusho, nakuba kungase kuzwakale ku-wok. izingxenye zama-opera nama-oratorio. Esimweni sokugcina, u-L. melody, ngenkathi instr. (i-orchestra) ifomu, izinga lokubonakala kwayo kanye nezinhlamvu ezingokomfanekiso liyakhuphuka ngenxa yokuvumelana, i-polyphony, irejista ebanzi kanye nokuguquguqukayo. ububanzi, kanye ethize. instr. i-timbre. I-Orc. L., enezela futhi echaza lokho okwashiwo ngamagama noma okungavezwanga nhlobo, kuba yimpumelelo ngokukhethekile. Kunjalo ukubonakala kukaL. Siegfried esiphethweni esithi "The Valkyrie" (lapho iqhawe lalingakazalwa futhi lingaqanjwanga ngegama) noma umsindo kaL. Ivan the Terrible kuleso sigameko se-opera "The Maid of Pskov ”, lapho sikhuluma ngobaba ongaziwa ka-Olga. Ukubaluleka kwalokhu L. ekuboniseni i-psychology yeqhawe kukhulu kakhulu, isibonelo. esigcawini sesi-4 se-opera ethi The Queen of Spades, lapho u-L. Countess, ephazanyiswe ukumiswa okwesikhashana,

ikhombisa ngesikhathi esifanayo. Isifiso sikaHerman sokwazi ngokushesha imfihlo ebulalayo nokungabaza kwakhe.

Ngenxa yokuxhumana okudingekayo phakathi komculo kanye nezenzo ze-L., zivame ukuqhutshwa ngaphansi kwezimo zokusebenza kwesiteji esicacile ngokuphelele. izimo. Inhlanganisela enengqondo yezithombe ezidlulayo nezingadlulisi inikela ekukhethweni okugqame kakhudlwana kwe-L.

Imisebenzi L., ngokomthetho, ingenza i-decomp. izakhi zomculo. izilimi, ezithathwe ngokwehlukana (leitharmonies, leittimbres, leittonality, leitrhythms), kodwa ukusebenzisana kwazo kuvame kakhulu ngaphansi kokubusa komculo. isiqalo (indikimba ehlukanisayo, ibinzana, isisusa). Kuhlobene nobufushane - okwemvelo. umbandela wokuzibandakanya kuka-L. emculweni jikelele. ukuthuthukiswa. Akuvamile ukuthi u-L., ovezwe ngetimu eqediwe ekuqaleni, aphinde ahlukaniswe ngokwehlukana. izakhi ezenza ngokuzimele imisebenzi yesici (lokhu kujwayelekile kwesu lika-Wagner leitmotif); ukuchotshozwa okufanayo kwe-L. nakho kutholakala ku-instr. umculo – kuma-symphonies, lapho ingqikithi eyinhloko yokunyakaza koku-1 ngendlela efushanisiwe idlala indima ka-L. ezingxenyeni eziqhubekayo zomjikelezo (i-Berlioz's Fantastic Symphony kanye ne-Dvorak's 9th Symphony). Kukhona nenqubo ehlanekezelwe, lapho itimu egqamile yokusika inqunywa kancane kancane isuka esigabeni esihlukile. izakhi zangaphambili (ezijwayelekile ezindleleni ze-Verdi ne-Rimsky-Korsakov). Njengomthetho, i-L. idinga ukuveza okugxilile, isici esiqondile, esiqinisekisa ukuqashelwa kalula kuwo wonke umsebenzi. Isimo sokugcina sikhawulela ukuguqulwa komugqa, ngokungafani nezindlela ze-monothematic. izinguquko F. List nabalandeli bakhe.

Etiyetha yomculo. umkhiqizo. ngayinye ethi L., njengomthetho, yethulwa ngesikhathi lapho incazelo yayo iba sobala ngokushesha ngenxa yombhalo we-wok ohambisanayo. amaqembu, izici zesimo kanye nokuziphatha kwabalingiswa. Ku-symph. umculo ukucaciswa incazelo L. uhlelo lombhali noma otd. imiyalelo yombhali mayelana nenhloso enkulu. Ukungabi khona kwamaphuzu okubhekisela okubukwayo nawokukhuluma ngesikhathi sokuthuthukiswa komculo kukhawulela kakhulu ukusetshenziswa kwe-L.

Ubufushane kanye nohlamvu olucacile luka-L. ngokuvamile lunquma indawo yalo ekhethekile esikweni. amafomu omculo, lapho engavamile ukudlala indima yezinye zezingxenye ezibalulekile zefomu (i-rondo refrain, ingqikithi eyinhloko ye-sonata Allegro), kodwa ngokuvamile ihlasela ngokungalindelekile i-decomp. izigaba zayo. Ngesikhathi esifanayo, ekuqanjweni kwamahhala, izigcawu eziphindaphindayo nemisebenzi emikhulu. yaseshashalazini. uhlelo, oluthathwe lulonke, u-L. angadlala indima ebalulekile yokwakha, ebahlinzeka ngomculo-thematic. ubunye.

References: U-Rimsky-Korsakov HA, "I-Snow Maiden" - indaba yasentwasahlobo (1905), "RMG", 1908, No 39/40; eyakhe, uWagner noDargomyzhsky (1892), encwadini yakhe ethi: Musical articles and notes, 1869-1907, St. Petersburg, 1911 (umbhalo ogcwele wazo zombili izihloko, Poln. sobr. soch., vol. 2 no-4, M. , 1960-63); I-Asafiev BV, Ifomu lomculo njengenqubo, M., 1930, (kanye nencwadi 2), L., 1963; Druskin MS, Imibuzo yedramaturgy yomculo we-opera, L., 1952; Yarustovsky BM, Dramaturgy of Russian opera zakudala, M., 1952, 1953; I-Sokolov O., Leitmotifs ye-opera "Pskovityanka", eqoqweni: Izinqubo zoMnyango Wemfundiso Yomculo, eMoscow. i-conservatory, vol. 1, eMoscow, ngo-1960; Protopopov Vl., "Ivan Susanin" Glinka, M., 1961, p. 242-83; Bogdanov-Berezovsky VM, Izihloko mayelana ne-ballet, L., 1962, p. 48, 73-74; Wagner R., Oper und Drama, Lpz., 1852; okufanayo, Sämtliche Schriften und Dichtung (Volksausgabe), Bd 3-4, Lpz., (oj) (inguqulo yesiRashiya - Opera neDrama, M., 1906); wakhe, Eine Mitteilung an meine Freunde (1851), ibid., Bd 4, Lpz., (oj); eyakhe, bber die Anwendung der Musik auf das Drama, ibid., Bd 10, Lpz., (oj) (ngenguqulo yesiRashiya - Ekusetshenzisweni komculo emdlalweni, eqoqweni lakhe: Izihloko ezikhethiwe, M., 1935); Federlein G., Lber “Rheingold” von R. Wagner. Versuch einer musikalischen Interpretation, “Musikalisches Wochenblatt”, 1871, (Bd) 2; Jdhns Fr. W., CM Weber in seinen Werken, B., 1871; Wolzogen H. von, Motive in R. Wagners “Siegfried”, “Musikalsches Wochenblatt”, 1876, (Bd) 7; wakhe, Thematischer Leitfaden durch die Musik zu R. Wagners Festspiel “Der Ring der Nibelungen”, Lpz., 1876; eyakhe, Motive in Wagners “Götterdämmerung”, “Musikalsches Wochenblatt”, 1877-1879, (Bd) 8-10; Haraszti E., Le problime du Leitmotiv, “RM”, 1923, (v.) 4; Abraham G., The Leitmotiv kusukela Wagner, “ML”, 1925, (v.) 6; Bernet-Kempers K. Th., Herinneringsmotieven leitmotieven, grondthemas, Amst. — P., 1929; Wörner K., Beiträge zur Geschichte des Leitmotivs in der Oper, ZfMw, 1931, Jahrg. 14, H. 3; Engländer R., Zur Geschichte des Leitmotivs, “ZfMw”, 1932, Jahrg. 14, H. 7; Matter J., La fonction psychologique du leitmotiv wagnerien, “SMz”, 1961, (Jahrg.) 101; UMainka J., Sonatenform, Leitmotiv und Charakterbegleitung, “Beiträge zur Musikwissenschaft”, 1963, Jahrg. 5, H. 1.

GV Krauklis